Day 11 Assignments

[Lisa Duffy]

Lisa’s Elevated Scene Structures

What I’ve learned doing this assignment is how trying different scene structures can really make a big difference in the entertainment value of a scene, and bring more suspense/humor/drama, etc. to the overall story.

Logline: A homeless teenage orphan, chasing her dream of becoming the next Adele, must survive the streets of L.A. and the pursuit of the criminal who killed her family.

ORIGINAL SCENE

EXT. DAMIANO HOME – DAY

A blackened skeleton is all that remains of the stately home that once stood in its place. Neighboring houses have sustained a lot of exterior damage, which is also being inspected. The ground still smolders and police tape is everywhere. Neighbors stand around shaking their heads and gawking at the devastating scene.

The fire chief and his team along with the local police are crawling the footprint of the house. One of them finds Hannah’s melted cell phone next to what used to be a door jam. Some of the crew collect pieces of the Damiano’s life that were propelled by the explosion into neighboring yards. An older woman hands a men’s dress shoe to a fireman who drops it into a plastic bag.

Christian pulls up to the scene in his charcoal gray Chevy Charger and flashes his badge at the cops blocking entry. He parks and gets out, stepping on the charred remains of a toy Star Wars light sabre. He snaps pictures of the scene with his phone as he walks over to where the house was, then starts typing a text message.

MACK

Detective?

Christian whips around to find the rugged, crusty MACK PORTER, 56, Philadelphia Fire Chief. He pockets his phone and holds out his hand.

CHRISTIAN

Chief. Detective Santiago.

They shake hands.

MACK

Santiago. I’ve heard about you. Hammond’s pet PI.

CHRISTIAN

Don’t believe everything you hear. So, whadda we got here?

MACK

Most likely started in the basement. Gas line leak. Water heater.

Firemen inspect the pit that used to be the basement.

CHRISTIAN

An entire family gone, just like that, man. That’s insane.

MACK

Almost the entire family. One of them survived. One of the kids, I believe.

CHRISTIAN

Heard that rumor… You know which one?

MACK

Pretty sure it was the oldest. Check with the hospital.

CHRISTIAN

So, you calling this an accident? Or do you think someone deliberately targeted Judge Damiano?

Mack spits on the ground.

MACK

It may indeed have been arson, son, but let’s leave speculation to the news anchors for now. We need to finish our job before we label it a homicide.

CHRISTIAN

Right.

MACK

I appreciate your sincerity, Santiago, but we’re not quite ready for your questions. There’s probably another crime scene down the road with your name on it. You’ll have my report this afternoon.

CHRISTIAN

So, to be clear, you are officially calling it a crime scene?

MACK

Tell Hammond he’ll have my report this afternoon.

Dismissed, Christian returns to his car and continues with his text. “99%”. He attaches the pics of the scene and hits “send.”

SCENE COMPONENTS

1. Hint at the fact that Christian is not operating with integrity/honesty and that he’s involved with someone compelling him to be this way.

2. Reveal scope of damage from explosion to add to our sympathy for Clare.

3. Establish conflict between Christian and Mack Porter.

POSSIBLE SCENE STRUCTURES

1. Twist

2. Competitive Agendas

3. Investigation/Hiding

SCENE REWRITE – COMPETITIVE AGENDAS STRUCTURE

EXT. DAMIANO HOME – DAY

A blackened skeleton is all that remains of the stately home that once stood in its place. Neighboring houses have sustained a lot of exterior damage, which is also being inspected. The thick smoke rises in curly black vapors as the ground smolders. Police tape is everywhere. Neighbors stand around, some still in their pajamas, shaking their heads and gawking at the devastating scene.

The fire chief, rugged, crusty MACK PORTER, 56, and his team along with the local police are crawling the footprint of the house. One of them picks up Hannah’s melted cell phone next to what used to be a door jam. Some of the crew collect pieces of the Damiano’s life that were propelled by the explosion into neighboring yards. An older woman hands a men’s dress shoe to a fireman who drops it into a plastic bag.

Christian pulls up to the scene in his charcoal gray Chevy Charger and flashes his badge at the cops blocking entry. He parks and gets out, stepping on the charred remains of a toy Star Wars light sabre. He begins snapping pictures of the scene with his phone as he walks over to where the house was.

He inspects the evidence table piled with plastic bags containing debris collected from the site. He begins typing a text message that is interrupted by a voice directly behind him.

MACK PORTER

Detective?

Christian whips around and pockets his phone as he holds out his hand.

CHRISTIAN

Chief. Detective Santiago.

They shake hands.

MACK

Santiago. I’ve heard about you. Hammond’s pet PI.

CHRISTIAN

Buncha crap. So, whadda we got here?

MACK

Explosion and fire. Looks like it started in the basement. Possibly a gas line leak.

They climb down what’s left of the staircase that leads into what used to be the basement. Christian slaps soot off his suit jacket as he follows Mack.

CHRISTIAN

An entire family gone, just like that. That’s insane.

MACK

Almost the entire family. One of them survived. One of the kids, I believe.

CHRISTIAN

Heard that rumor… You know which one?

MACK

No idea. Check with the hospital.

Mack bends down and inspects the utility line, pointing his finger at a crater in the cement floor.

MACK

See this here… that’s likely the point of combustion.

CHRISTIAN

Interesting.

MACK

The question is, what made it combust?

Christian points to the charred, shriveled cannister that used to be the water heater.

CHRISTIAN

Looks like your culprit right there. Sounds to me like a very unfortunate accident.

MACK

It was a natural gas water heater, so, you may be correct. But, we’re collecting debris for testing to see if there were any accelerants.

Christian puts on his sunglasses to hide his alarm.

CHRISTIAN

Accelerants? Seems pretty cut and dried to me.

Mack spits on the ground and looks suspiciously at Christian.

MACK

That’s a fairly elementary perspective for a lead PI.

CHRISTIAN

So, you think someone deliberately targeted Judge Damiano?

MACK

What do you know about Judge Damiano?

Christian laughs nervously.

CHRISTIAN

Aren’t all judges targets to one degree or another? I mean, c’mon.

He starts walking back up the mangled stairs. Mack stares after him, silently noting Christian’s awkward exit.

MACK

Never thought about it that way. But I’d be interested to hear any thoughts you might have on that one.

CHRISTIAN

Looking forward to that report. End of day?

MACK

We’ll be in touch.

Christian returns to his car and continues with his text. “99%”. He attaches the pics of the scene and hits “send.”

[Joan Butler]

Joan Butler Rewrite Assignment 11 Elevating Scene Structure

What I learned: Using Hal’s guidelines I can make the most boring scene interesting.

Scene before revision

INT. TRANSITION HOUSE – COUNSELING ROOM – DAY

Elizabeth stands with her arms crossed. Afraid of being yelled at, Selma stands with her trembling hands behind her back.

SELMA

You look as if you’re still upset.

ELIZABETH

Can you blame me?

SELMA

No. I lied and I apologize.

ELIZABETH

If you think that’s going to make me trust you, you’re wrong… Show me something I can use at home.

SELMA

Absolutely.

They sit in their armchairs. Elizabeth drops the weighted blanket on her lap.

SELMA

(with caution)

You said Mark puts you down and calls you names.

INT. MARK’S HOUSE – KITCHEN – DAY (ELIZABETH’S FLASHBACK)

Mark and Elizabeth are dressed for the office, Mark in a suit, Elizabeth in a skirt and blouse. He watches her frantically polish his shoes.

MARK

Hurry up. You’re going to make us late. You’re so useless. A dead mule could move faster.

He throws a wet dish cloth in her face.

BACK TO SCENE.

Elizabeth blinks.

ELIZABETH

It’s just something he says. He doesn’t mean it.

SELMA

(almost begging)

If you feel bad about yourself, you won’t think you deserve more, and you won’t leave him.

ELIZABETH

I have no intention of leaving him!

SELMA

I call any technique he uses to control you, a red flag.

ELIZABETH

I told you. He doesn’t control me.

SELMA

(keeping her temper)

I’m just trying to show you something you can use at home.

Elizabeth sighs.

SELMA

Could you tell me one thing he calls you?

ELIZABETH

Useless.

SELMA

Think of all the things you do for him and your patients. Are you useless?

ELIZABETH

(softly)

I guess not.

SELMA

You don’t sound very sure.

ELIZABETH

I’m useless at a lot of things.

SELMA

So am I, but to say you’re useless, full stop, isn’t true… If he lies about that, is it possible all the put-downs and names he calls you are lies?

Elizabeth considers.

ELIZABETH

It’s poss… Mark wouldn’t do that.

Selma reins in her frustration.

SELMA

Do you ever call yourself useless?

ELIZABETH

(snapping)

What of it?

SELMA

Then he doesn’t need to put you down. You do it for him.

Elizabeth’s face is stone.

Selma gently offers Elizabeth a piece of paper and a pencil.

SELMA

Please write “useless” on the paper.

Elizabeth hesitates then writes.

SELMA

Now, light the paper on fire and place it in the bowl.

Elizabeth burns the paper.

SELMA

When you hear a put-down or you call yourself a name, stop and tell yourself the truth. Then, when you can, set the words on fire.

ELIZABETH

Why not just throw them away?

SELMA

Because fire makes a stronger impression on the brain. It’s not a quick fix, but as you become more aware, the words will lose some of their impact.

Elizabeth looks skeptical.

SELMA

Do you know what happens when Mark consistently fills your brain with lies about who and what you are?

ELIZABETH

I get confused.

SELMA

Yes. And you gradually lose yourself.

Components of the scene:

A. Selma apologizes for the lie. Elizabeth is still angry.

B. Elizabeth flashes back on being called useless.

C. SELMA

He knows if he can make you feel bad about yourself, you won’t think you deserve more, and you’ll never leave.

ELIZABETH

I have no intention of leaving!

D. Selma waves the red flag. Elizabeth says to put it away.

E. They talk about Elizabeth being useless.

F. SELMA

Do you ever call yourself useless?

SELMA

Then he doesn’t need to put you down. You do it for him.

G. Selma gives instructions on burning the word.

H. Selma explains how people lose themselves.

What do I want to accomplish?

To show the 4^th step in the deprogramming.

To make the sparing one-sided rather than two-sided, as in the previous session, so the conflict doesn’t become boring.

Scene Structures

CRUCIBLE

Selma and Elizabeth meet the day after Elizabeth discovers that Selma lied to her. Elizabeth is angry and Selma is frightened. She speaks in a calm voice to decrease Elizabeth’s anger and keep her own temper in check.

COMPETITIVE AGENDA

Elizabeth is angry. She wants out of counseling, but not before Selma grants her last 2 wishes.

Selma wants to show her how to mitigate the hurtful words from Mark.

Elizabeth talks over Selma until Elizabeth becomes interested in what Selma is doing.

SURPRISE

At the end of the exercise, Elizabeth is surprised when she realizes she has received all 3 wishes.

Selma is surprised when Elizabeth declares the counseling is finished.

SUSPENSE

There is a little suspense because the viewers saw Selma’s anger flare in the last session and they will be waiting to see if she can keep her cool.

Revised Scene

INT. TRANSITION HOUSE – COUNSELING ROOM – DAY

Elizabeth stands feet apart with her chin jutting. Selma holds her trembling hands behind her.

SELMA

You look as if you’re still upset.

ELIZABETH

Can you blame me?

Selma speaks with exceptional calmness.

SELMA

No. I lied and I apologize.

ELIZABETH

If you think that’s going to make me trust you, you’re wrong… Show me something I can use at home.

SELMA

Absolutely.

They sit in their armchairs. A red flag, a bowl of baking soda with matches, and 5 hard cover dictionaries rest beside Selma. Each dictionary is 3 inches thick.

Elizabeth drops the weighted blanket on her lap. With shaky hands, Selma piles the books, one on top of the other, on Elizabeth’s lap.

ELIZABETH

What are you doing?

SELMA

Almost finished… How do you feel weighed down with all those words?

ELIZABETH

I want to get rid of them.

Elizabeth shoves the books to the floor. Selma flinches.

SELMA

(with caution)

And that’s what we’re going to work on today… You said Mark puts you down and calls you names. Tell me one thing he calls you.

INT. MARK’S HOUSE – KITCHEN – DAY (ELIZABETH’S FLASHBACK)

Mark and Elizabeth are dressed for the office, Mark in a suit, Elizabeth in a skirt and blouse. He watches her frantically polish his shoes.

MARK

Hurry up. You’re going to make us late. You’re so useless. A dead mule could move faster.

He throws a wet dish cloth in her face.

BACK TO SCENE

Elizabeth blinks.

ELIZABETH

Useless. It’s just something he says. He doesn’t mean it.

SELMA

(a plea)

He knows if he can make you feel bad about yourself, you won’t think you deserve more, and you’ll never leave him.

ELIZABETH

I have no intention of leaving! What about my wishes?

Selma’s fingers dig into the chair. She picks up the red flag and shakes it a little.

SELMA

I call any technique Mark uses to control you, a red flag.

ELIZABETH

He doesn’t control me. Put that stupid thing down.

Selma clenches her jaw, obeys, and remains outwardly calm.

SELMA

Are you useless? What about all the things you do for him and your patients?

Elizabeth takes a moment.

ELIZABETH

I’m useless at a lot of things.

SELMA

So am I, but to say you’re useless, full stop, isn’t true… If he lies about that, is it possible all the put downs and names he calls you are lies?

ELIZABETH

The wishes are the only reason I’m still here.

SELMA

Do you ever call yourself useless?

ELIZABETH

(snapping)

What of it?

Selma surreptitiously wipes her palms on her chair.

SELMA

Then he doesn’t need to put you down. You do it for him even when he’s not around.

Silence. Selma waits. She startles when Elizabeth suddenly speaks. When Elizabeth looks self-satisfied, Selma’s temper flares.

ELIZABETH

W I S H E S.

Elizabeth stands. Selma stands and pushes the paper and pencil at her.

SELMA

Write “useless” on the paper.

ELIZABETH

Why?

SELMA

Because I’m trying to show you something you can use at home.

ELIZABETH

Thank God for that!

Elizabeth sits and writes. Selma sits and picks up the bowl.

SELMA

Light the paper on fire and place it in the bowl.

Reluctantly, Elizabeth burns the paper.

SELMA

(clipped)

That’s how you mitigate hurtful words. When you hear them or say them to yourself, stop and tell yourself the truth. Then burn them.

ELIZABETH

Why not just throw them away?

SELMA

Because fire makes a stronger impression on the brain.

Elizabeth appears doubtful.

SELMA

It’s not a quick fix, but as you become more aware, the words will lose some of their impact… Try it. What do you have to lose?

Elizabeth twists her wedding ring. Selma sighs.

SELMA

(softly)

Do you know what happens when Mark consistently fills your brain with lies about who and what you are?

ELIZABETH

I get confused.

SELMA

Yes. And you gradually lose yourself.

Elizabeth opens her mouth to say something caustic, then stops.

ELIZABETH

(surprised)

You kept your side of the bargain–happiness, something for home, and my lost self.

Selma smiles.

ELIZABETH

Great. I’m finished with counseling.

Selma is taken-aback.

Later, she sits alone, her head in her hands.

[Daniel Rangel]

Danny’s Elevated Scene Structures

What I’ve learned doing this assignment is…

Just being aware of how scenes can be structured and trying different ways can help bring clarity to the beat and define its function within the overall story.

What I’m trying to accomplish:

A. Ron and his goons are about to become a very real threat to Pepe.

B. Increase the conflict between Ron’s gang and Pepe.

C. Have Aldo lead Ron’s gang to Pepe.

SUSPENSE

Ron receives the security camera print out showing Aldo leaving the studio with Sandy. Aldo packs clothes, etc. Ron packs his tools of torture and place them in his briefcase. He arrives at Aldo’s apartment. Aldo grabs his bag and opens his door just as Ron and his two thugs arrive.

SUPERIOR POSITION

A security guard gives Ron’s thugs a camera print out. Aldo packs quickly in preparation to skip town. Thug #2 arrives and tells him Ron wants to speak with him immediately. We know he’s in trouble, but he doesn’t.

INVESTIGATION / HIDING

Ron investigates using his superior position while Aldo downplays his involvement and backtracks his previous statement.

## AFTER

I combined SUPERIOR POSITION and INVESTIGATION / HIDING.

19. INT. FANTASTIC DEE-LITES – CELLAR – NIGHT

Ron paces. TWO THUGS stand at a table with a large metal briefcase, a 64oz DISPENSER of personal lubricant and an emergency first-aid kit.

THUG #1 We got this from the guard you put on the payroll.

INSERT

A print out of Aldo’s license plate leaving the studio.

Thug #2 pounds his fist on the table.

THUG #2 Knew it!

KNOCK, KNOCK! Aldo enters. Thug #1 slides the emergency first-aid kit over the print out.

RON Aldo.

ALDO What’s up Ron?

RON Mm. Wanted to talk.

ALDO Sure.

RON You know about these things.

ALDO Yeah. Wish I didn’t.

RON First day of filming today. She coulda been a star, right?

ALDO She had major talent. But don’t worry Ron, we’ll take care of Cedillo’s gang.

RON Was it really Cedillo though?

Thug 1 and 2 glare suspiciously at Aldo.

ALDO I don’t follow.

RON We got some info. I don’t think Cedillo was involved.

ALDO That right? Well, I’ll see what I can find out for you.

Aldo turns for the door.

RON Why the hurry?

Thug #1 closes the door and locks it.

RON (CONT’D) Studio security says you picked up Sandy the night she got killed.

ALDO Me?

He slides the emergency kit off the print out.

RON You said you didn’t see her.

ALDO No, what I said– I picked her up and dropped her off at the hotel.

Ron wants to believe. But he knows a liar when he sees one.

RON You and Sandy had no beef, right?

ALDO Sandy? No, she was like a sister.

RON Why didn’t you bring her home Aldo?

ALDO She said she was going to rehearsals with Pep and Redmond. That I should drop her off.

RON There was no call sheet for no rehearsals Aldo.

ALDO Really? They musta–

RON How come you left her alone Aldo?

ALDO Alright, I’m gonna level with you… it was Pepe.

RON Pepe?

THUG #1 Aldo did it Ron. They were banging!

RON (to Thug #1) Careful.

THUG #2 He’s lying Ron. Just look at him. He’s scared.

THUG #1 I know it’s an unpleasant thought Ron, but most of us think she was running around on you.

RON Don’t you fuckin’ say that!

THUG #1 I’m trying to help Ron!

THUG #2 Ron. I’m sorry, but… they were banging.

Thug #1 nods.

They all look to Aldo.

RON Pin him down.

Thugs grab Aldo by the arms and throw him to the ground.

Ron opens the briefcase–

Side 1: All manner of RUBBER, ALUMINUM, GLASS and CERAMIC DILDOS.

Side 2: HORSE CROP, BULL WHIP, 17” TACTICAL KNIFE, VARIOUS CLAMPS and an JUMBO-SIZED RUBBER FIST.

Ron unsheathes the knife and slides the container of lubricant into the rubbish bin.

RON (CONT’D) On the belly. I’m going to do him the way he did my Sandy.

TCHKK!!

Ron cuts the seams out of Aldo’s pants and tosses his boxer shorts to the side.

ALDO Ron, no please don’t!

He props his phone up. It plays the sex-video he showed Pepe.

RON Is that you?

ALDO No!

RON Is that you and Sandy?

ALDO No, Ron you gotta believe me! It was Pepe, I swear it! It was Pepe!

RON (to Thug #2) Give me “The Hand of God”.

ALDO Ok, I was fucking her! You’re right about that. But Pepe’s the one who killed her! You gotta believe me!

Ron is trembling, he wants to begin the torture but curiosity gets the best of him.

RON You better start talking and fast.

[Marian]

Marian Redmann Elevated Scene Structures

What I learned from doing this assignment is, that I can improve a scene by analyzing its elements and choosing the scene structure that best fits the meaning of the scene.

SCENE BEFORE:

INT. UPPER AISLE – DAY

A figure in the darkness reaches her hand down.

CLAAS

Lisanna.

LISANNA

(in Disbelief)

Claas?

CLAAS

Take my hand!

Panicked, Lisanna reaches for Claas’ hand. Claas pulls as hard as he can.

The water rises. The shark shoots forward.

Claas can just pull Lisanna out of the lower passage.

She escapes the furious shark by a hair’s breadth.

The shark rages and bites wildly.

Lisanna sees Claas. She hugs him. She has never been happier to see him.

CLAAS

That was close.

LISANNA

What are you doing here, Claas?

CLAAS

That’s what I’m asking you!

LISANNA

I’m supposed to find out if there are sharks here.

CLAAS

If I hadn’t just seen that one myself….

LISANNA

They shouldn’t be here at all….

Claas nods.

LISANNA

Why are you down here?

Claas looks at her expectantly….

CLAAS

Hello?

LISANNA

Uh… Thank you. For saving my life!

CLAAS

You’re welcome.

LISANNA

Don’t tell me you’re only here to save me.

CLAAS

I was told to evacuate the bunker. Because of the munitions clearance work.

Lisanna looks at him skeptically. There’s something fishy going on.

LISANNA

There’s something you’re not telling me.

Claas suddenly becomes serious.

CLAAS

Mia is here. I’m out looking for her.

LISANNA

MIA IS IN HERE? You evacuate and bring our daughter with you?

Lisanna is furious.

LISANNA

How incompetent are you, anyway?

CLAAS

She took a tour. Without telling me anything.

LISANNA

And they’re all down here, too?

Claas nods, embarrassed.

LISANNA

You did a great job with the evacuation.

She looks at the water, which has come closer. The shark lurks beneath the surface.

LISANNA

The water is rising! If Mia survived the explosion, our daughter may yet drown or be eaten by a shark!

Lisanna is more determined than ever.

LISANNA

WE MUST SAVE MIA!

List the components of the scene and what you are trying to accomplish

Core of the scene: the crucial twist that Lisanna has to save Mia.

Elements:

Surprise: Claas rescues Mia from the greatest distress

Suspense: Why is Claas in the bunker?

Emotion: Claas wants recognition from Lisanna

Info: Claas should evacuate the bunker

Suspense: Claas hides a secret from Lisanna

Surprise: Lisanna’s daughter Mia is also in the bunker

Emotion: Lisanna is angry with Claas

Twist: Lisanna has to save her daughter!

I was not happy with the scene, because the emotion at the beginning is wasted imho. Lisanna is immediately skeptical about why Claas is in the bunker and Claas wants his well-deserved thanks for saving Lisanna. Actually, Lisanna should be happy that Claas saved her and become skeptical afterwards. I chose the mislead/reveal structure in the rewrite to first lull Lisanna and the viewer into a sense of security and then to present the surprise.

NEW SCENE – MISLEAD/ REVEAL:

INT. UPPER HALLWAY – DAY

A figure in the darkness. Reaches a hand down.

CLAAS

Lisanna.

LISANNA

(hopeful)

Claas?

CLAAS

Take my hand!

The water rises. The shark shoots forward. Quick as a flash, Lisanna grabs Claas’ hand.

Claas is just able to pull Lisanna out of the lower passage.

She escapes the furious shark by a hair’s breadth. The shark rages and bites wildly.

Lisanna falls into Claas’ arms.

LISANNA

(exhales in relief)

I thought that was it.

Claas takes Lisanna tighter in his arms.

CLAAS

What kind on earth are you doing?

LISANNA

Just shut up.

Claas wants to say something. Then changes his mind.

LISANNA

Thank you.

Lisanna presses herself against him. An intimate moment.

LISANNA

My savior!

Lisanna gives him a long, passionate kiss.

CLAAS

I should save you more often.

Claas beams with joy.

LISANNA

Now let’s get out of here. Where did you come from?

Claas pauses, changes the subject.

CLAAS

What are you doing down here?

Lisanna looks around at him.

LISANNA

It doesn’t matter now.

The woodwork is creaking suspiciously.

LISANNA

Doesn’t look like it’s going to hold up for long.

CLAAS

Was that a shark just now?

LISANNA

What did it look like?

Dust trickles down from the ceiling.

LISANNA

Let’s go!

Claas looks embarrassed.

WAMMM! The shark thunders against the shaft from below.

After more dust and rocks trickle from the ceiling.

LISANNA

What are you waiting for?

Claas shrugs his shoulders in embarrassment.

CLAAS

I should evacuate the bunker…because….

Lisanna looks at him skeptically.

LISANNA

Because..?

CLAAS

Because of… because of the munitions work…. Clearance work.

LISANNA

There’s something fishy going on… What are you not telling me?

Claas looks even more embarrassed.

CLAAS

I’m looking for…

LISANNA

Out with it!

CLAAS

…for Mia!

LISANNA

MIA IS HERE?

Lisanna is furious.

LISANNA

You’re bringing our daughter to evacuate the bunker?

CLAAS

She took a tour…

LISANNA

How incompetent are you!!!

CLAAS

(defensively)

Without telling me anything!

LISANNA

You did a really good job with the evacuation.

She looks at the water, which has come closer. The shark lurks beneath the surface.

LISANNA

If she survived the explosion, our daughter may yet drown or be eaten by a shark!

Lisanna is more determined than ever.

LISANNA

WE MUST SAVE MIA!